By Erik Routley, Eric Routley, Lionel Dakers
Starting from the medieval interval to the current day, this can be a short background of church tune because it has built in the course of the English culture. defined as "a fast journey", it presents a extensive ancient survey instead of an in-depth learn of the topic, and likewise predicts most probably destiny tendencies.
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Additional resources for A Short History of English Church Music
Charles II's exile in France brought him into contact with the 'new music' and at every level, after he returned, this was the musical fashion set by the top people in England. Now any innovation so radical as this has overtones that go beyond music. The basic new idea is that of melody and accompaniment, replacing polyphony. Instruments were developing, The New Professionals 31 and there could now be more for them to do than simply to double the voice parts. If now not all the responsibility for musicmaking fell on the voices, you could compose music which (unlike the earlier style, which although no doubt it often was accompanied, was complete music when sung a cappelld) was incomplete without instruments.
Only a strictly musical pressure could have diverted them from the exercise of gifts which they had inherited direct from their music ancestors. ' The idea would have been unintelligible. But that really is what happened in the seventeenth century. A musical earthquake took place in Europe comparable to that caused two and a half centuries later by the explorations of Debussy and Schoenberg; it might have had a less cataclysmic effect on English music had it not been for the circumstances that immediately preceded the Restoration of the Monarchy in 1660: but rumblings of it were to be heard quite a while before that date.
The phrase which gives the clue to the whole movement in the period 1558-1600 is in the Injunctions of Queen Elizabeth I, 1559: * ... and that there be a modest distinct song, so used in all parts of the common prayers in the Church, that the same may be plainly understood, as if it were read without singing, and yet nevertheless, for the comforting of such as delight in music, it may be permitted that in the beginning, or in the end of common prayers either at morning or evening, there may be sung a Hymn, or such like song.
A Short History of English Church Music by Erik Routley, Eric Routley, Lionel Dakers